Children's Posing Guide

Lesson 14 of 37

Shoot: Bedroom with Joseph

Children's Posing Guide

Lesson 14 of 37

Shoot: Bedroom with Joseph

Lesson Info

Shoot: Bedroom with Joseph

Okay, so I've got a couple ideas so first of all so the shirt situation tell me about it oh, no all right, well let's let's try this was trying t shirts I had some fun ideas ready okay did I do let's try and let's watch this yeah um where did I put my phone? I had a couple ideas on here for you buddy lacey steps down my phone all right, I'm gonna start what if you're just standing standing in the middle of that ready very good. All right, we're gonna try something it's an idea I have the ready for it she shut it off into the batter's out, didn't you? So here let's do this put your arms your legs apart yet take your fingers in your pocket just just just a front fingers that you're outside fingers out yet and then you're gonna be a little bit of like this like, you know what two days called like two attitude no yes you do his mom I'm gonna shoot from this angle and I want you to look down on me like kind of you know, like I'm a lesser person you know, like I barely deserve to be here and...

let's try this we're gonna pop it is ethical way want to just just light up his eyes very nice and then again I want to reemphasize that the vignette situation is occurring but that's not something that we can control in here um normally it would be kind of smooth all the way up um so for this um since we've changed that look of this and everything's kind of uneven lighting you know it's the last thing I'm working on haven't started yet right? That last thing I don't have to think about yet expression um so all I'm thinking about is the framing of this do I have a mole it to have catch lights I do now I did before things like vin yet I keep seeing that but I realized I can't control that so I'm gonna let it go um I want to check for meat oring from this angle everything is pretty well controlled there's no dark dark contrast is shifts and stuff um I don't have a lot of back light it's this lighting and stuff so I'm gonna be doing this in evaluated matrix matrix mode I can also do this in a center waited metering mode if I pull back and make it a more a larger frame but I want the option to move in back and forth and in between so I'm gonna keep it evaluated for matrix and then so everything is done and then what I worked on last yes I d'oh so you hear that? Did you hear that you totally heard that? Oh my goodness, you totally heard that wow, look at him go that is really good you are solid do me a favor I have to hit press to go so do me a favor um and what I see right out of the gate is that I need to control a little bit of the light spilling on the shirt and make yeah, just make sure because you can make the reflector can light everything evenly or you khun spotlight something's spot like some things and you want to be able to do that? The other thing I could do is bring in a flag to control the bright light of the shirt if I wanted to okay, so exactly as you are do me a favor imagine your chain going straight out like weirdly it down just a little bit yep and then relax it in a little bit. Yeah, okay, good. And then can you tell me if you could do this and if you can't told understand do you think you could try to lean forward a little bit towards me with your chest without falling? And if you fall you're gonna follow the band so you're fine. All right subtract ready? Very good, very good. All right and then the other thing I want you to do is go, um someone will see going on yes, I've gotta fix this yep and then I've got to check your teeth your teeth look really good makes your tongue facing the bottom part your tongue yeah, it looks really good um can you turn this way uh clean actually congratulations come back this way and then your hair looks nice in your eyebrows okay yeah, I think that's pretty good I think that looks really good and I'm a little afraid of what's happening with your mouth right now yeah no yeah what if you're very nice okay? You see that difference right? You see the difference of expression can you see that close? So what you were doing for me was very sweet but I was getting a one if I can show them back and forth oh, so do you see the difference between this um, expression do you see yourself, boy? Do you look handsome, huh? And but israel time and this expression do you see the difference? Yeah moms like absolutely no but it's also the precondition smile like that you know versus hit when he really burst into tears actually love your teeth I really dio I wouldn't mind borrowing them sometime if that would be okay but they'll be okay with you. Why why what do you own your teeth? You did which one the's not that one you don't we see it so cute and then so you kind of like go in and out in based of in terms of how you get expression all right let's try something different with you you ready? Oh, little hard landing for the camera um I'm going to show you an idea that I have in mind that I think you might really like but maybe you want I mean I'm not going I'm not married to it well my feelings won't be crazy hurt you know I don't want you to feel like you would hurt my feelings okay okay but if it did hurt my feelings I'd probably let you know is that okay okay but I don't think it well ok so you see this you like that? Yeah, well remember it's not our movie lines but we're going to try something like that okay, so what I'm going to dio is I'm gonna have you facing um have you facing this way mmm we'll be facing this way and then this is what you're gonna d'oh you're gonna be like this see how my my right hip and then I'm just gonna go like that and the fan just interesting and I like that you see that you think you could do that give us right I'm not judging you or anything okay and could I grab see yet except tzu good closer I'm gonna move you in like this you see see that and then let me see tell me if this hurts ok if it hurts I'll stop hurt how about like this does that hurt okay good and then I want you up on that and then this here what I'm going for here is an extreme full frame shot I just want face because you have a really beautiful face and it has been said that the boy but I'm gonna say it I'm going right here okay do you like that? All right, we're gonna need the reflector lighting is next in the eighty five you're making sounds too right it's addictive also ski that way so annoying okay, so I'm going in here I don't know I'm not worried about anything see expression but I'm not worried about it right now but we're nowhere close um for expression and I'm gonna come in here and all I want is this this is my shot so it's super super tight we haven't actually really done that yet and I don't mind that this is a little bit off and I don't care what these fingers were doing because they're not my frame um I want the eyebrows fixed yep. And I love the reflecting awesome job really nice. Um let's try you know, actually I get the one on five please instead. Um the eighty five uh len's the prime lenses often have a stop tau how close you can get you can only get so close before it'll start focusing the one oh five prime lens that it's the one o five to eight I believe is the macro lens so it allows you basically to get much closer and they'll kind of adjust the aperture based on how close it will let you get but allows me to get a lot closer which helps me to enable the feel of what I want yes, that is we're really good okay, so let's see, I like this again I'm on evaluative meeting because the way we are actually mean to click that ignore that that wasn't my shot although we're getting close to what I want all right, so this is really cluster I want I want to show the whole mouth because I don't know if you know this but you haven't awesome mouth do you lick your lips like make the noise will do it the top left you don't you have two minutes good, good, very good, very nice. Okay, so with the one oh five it's really precise you have to be really careful. If you jump back and forth really fast you could get unintentional blur. One thing you can always keep in mind when you're shooting with a prime lands is you can cheat the lens, which means if someone's running towards you you can help the lens get to its focal point by moving it faster and it'll focus faster so ready and did that make sense to you guys? You're gonna mean we'll say yes okay kind of all right explain that a second I love that s so this is where I want kind of zoned out this is where I want him just very still that's what I am looking for and then I can try something see now that frame I think his eyes are a little too down the frame I can fix that in post so I could just adjust it right now. Very nice oh, I need to switch it for you too. I would show it that way actually yep. Alright so exactly like this don't move anything you're falling asleep aren't you are you and you so I just leave a little bit what? Yeah, I think a little bit um and then you could do just a little bit where you play with expressions I love that look all right, good jump you jump up all right and then you're gonna try literally jumping with ya hard you go twenty four seven deep pillars but okay oh, but you buzz all right let's see, I'm going way low so this will really, really make a difference are really now what's the one thing you can't do jump off the bed and hurt yourself okay, is anybody around to save him if he does okay okay well then there's that um I wanted my shutter speed to be high I'm gonna go toe one one thousand and I'm going to kick up my s o to be able to manage that and I'm gonna let you go really really fast okay we'll do a test shot to see where we are all right it's all you were gonna pretend that we're not on a studio set and that this is just a regular wall that goes all the way up so I'm not gonna worry about it breaking the composition these little walls and staff we're just gonna go all right this time I want you to jump but when you jump up in the air jump towards me and either look straight up or look straight at me but but don't like you know take your face away from me yeah you know what that means I don't either all right let's do it go e very nice to be there back up a little bit back up a bit as you do that a great look great expression he went his face fell out of the light so I'm gonna have him back up so he stays in the light and then you know what I want to go out and make myself have this happen a little faster and here we get ready one two go good job back jump back don't fall down or get out is he going to get all right so something like this I then love there's a lot I could do with this image um obviously we're not gonna have a natural daylight so his light would be completely spread in um I would I would shine that up and then it make this a super slick uh shot I love it all right this time put your head all up in the ceiling while you job yep so that's another way to control if I find that I'm having a lighting issue that I can't easily fix having him jump and his face completely out of frame like up not a frame but whose face completely up then we have a lot more to work with all right ready can you do it all right one to go you didn't looked at me trying to get try to get a set like this this is what they mean the whole time you jump ready one to go that is not even your best jen that's not even your best all right try this one last one come here sit knees up to just yep cross him over and he's all the way up hung all the way super tight super tight okay ready I'm gonna lift you up ignore me come back yeah all right so let me bring the reflector in I look at his expression he was like you're in pain you're not dead you're alive all right, we're gonna try just like this. Why are you acting like you're paid? You're not tell you. There we go and then let's, see, yeah, still good way, tried again. Oh, he's, good. He keeps going right back. You guys see that micro expressions, very nice. All right, good job, joseph.

Class Description

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Children are not professional models, nor even enthusiastic about posing. While children are inherently beautiful, they aren’t naturals at sitting still. This creates a hurdle for photographers attempting to capture the personalities of younger, restless subjects. However, it’s not impossible to get a child to pose for the camera — you just have to speak their language.

After more than ten years of shooting, celebrated children's photographer Tamara Lackey has developed a language for effectively communicating with her younger clients. In this 3-day course, you will learn Tamara’s 10-point system designed to secure gorgeous, expressive images — including her formula for building to “the final shot.”

By the end of this workshop, you’ll be armed with a toolkit of tried-and-true methods easily adaptable to your own style of shooting, transforming your children’s photography practice into a seamless workflow.

Judi McCann

I really loved these videos and am grateful to Tamara for her clear teachings and her ability to relate her ideas in an instructional setting. She's extremely thorough in her explanations as to the how's and why's. She's got a super sense of humor, too, which is nice. I would very highly recommend this class.

Charlene Goldsmith

This is my first creative live course, and I was really sceptical that I would be getting my money's worth. But I can honestly say that this has been a brilliant investment. Not only is Tamara amazing, but the content is fantastic. I feel like I got more than I bargained for as I even learnt some things in Photoshop I didn't know. Big double thumbs up!

Mari Sierra

Tamara is so good at what she does... Plus funny!
This class was great and I learned so much from her... It's one of my faves and in my wish list!